Sketchbook: ccsears sketchbook - Page 37
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View Poll Results: i'm thinking about teaching drawing somewhere in LA, what do you think

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  1. #1081
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    hey chris you are doing good draving painting and now sculpture cool keep it up

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  3. #1082
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    went over to my house and had a first attempt at 3d... this was in mudbox. going to try zbrush too soon.

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    vvv thanks man, mike is always busy but he's just too good to be a well-kept secret.
    destinyapocalypse thanks, will do.

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  4. #1083
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    Ah, 3D. Are you in a position to be using mudbox or zbrush consistently? It could be interesting to see how your traditional sculpting background transfers to sculpting with software.
    It is fun, though. I've done a little here and there in Zbrush, and it's pretty straight forward stuff. Have fun, dude.

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  6. #1084
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    another quick experiment...

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    staticpen i kinda have access now. not 24-7, but almost. mudbox seems easier at first than zbrush just because it doesn't have such crazy terminology--tools vs. documents ve. 2.5D vs. 3D... i'm sure i'll use both, but the quick start to mudbox is super quick.

    on the other hand, zspheres seem awesome! i'd much rather use that than learn 3dsmax or maya. but who knows. i couldn't get ahold of certain resources on the weekend, so i had to use what was available to me.

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  7. #1085
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    moar mudbox practice. 3d is kinda fun, but i think i need to understand the workflow a bit more before i can do what i want.

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  8. #1086
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  10. #1087
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    Every once in a while I get a PM asking for drawing advice. Sometimes I give it privately if i think what i'm going to right doesn't apply to all of us, sometimes i post it publicly (but omitting the sender's name) if i think it might help more people. either way, i don't mind writing back when i have the time, and i hope nobody's afraid of asking...

    (that said... please don't bombard me with requests all at the same time. i have to have time to do my own shit too, y'know.)

    Quote:
    The advice I'm talking about is about a hump I can't seem to get over. Specifically making further progress with the figure in general and in foreshortening. I've been trying to break out of my comfort zone for a long time, but unless I have reference directly in front of me, it never comes through. I do some life drawing at least twice a week currently with varying sessions but I guess I'm not retaining shit.

    I was hoping you had some thoughts/advice/anything really on the subject. I was following your advice for heads and cranking out studies and making some visible progress through overlays and noticing shapes and that helped a ton. The wordings and suggestions you make seem to click with me, so if ya wouldn't mind taking the time, I would appreciate it.


    believe me, i struggle with this too. some days it doesn't work at all, and some days it comes very easily.

    after looking at your thread, i think you're asking for advice in making your figures read "more 3d" and better ways to invent them.

    so here are some ways you can make form read well and some general pointers on good figure drawing:

    1) overlaps. overlaps. OVERLAPS!!!! before you worry about deep foreshortening (like a gun pointed straight out of the page) you need to realize that the absolute most basic way to convey depth is overlapping shapes. you can draw a circle in front of a square and you immediately have a primitive sense of depth. refining this is key to doing good figure drawings from life or from imagination.

    2) good gesture and great rhythm make up for many minor mistakes. never forget this!

    3) correct convexity creates convincing volume. as you can see in many of the SB threads and studies posted on CA.org, it's a basic step forward in your art education when you start abstracting the forms of the figure as abstract volumes. cylinders for chest, a block for the pelvis, a cylnder for an upper arm, etc. do whatever it takes to emphasize the convexity of forms. frankly, you almost can't over-emphasize it.

    here's a confusing example: boobs. we all like boobs here, right? imagine a female torso tipped back so that you're looking up slightly at it. now you have a strange case where the bottom of the breast form looks like a "u" and the overall rhythm of the cylinder of the chest/rib cage looks like an "n." it takes a lot of experience and trial and error to understand how to make the breasts read like they're supported by a rib cage yet affected by gravity.

    an easier example is the brow line on the head. if the head is tipped back, it has an "n" rhythm. if it is tipped forward and looking down, it has a "u" rhythm. now for the confusing part... what happens when someone looks up but frowns and pulls his eyebrows down? or what happens when someone looking down raises her eyebrows in surprise?

    the answer is to never forget that the underlying structure (in this case the bony form of the brow of the skull) does not change at all. you might have some extra secondary forms from the brow muscles contracting, but they will still look like smaller "u" variations within a bigger "U" rhythm.

    4) no lines within the silhouette unless ABSOLUTELY necessary. ABSO-FUCKING-LOOTELY NECESSARY. the classic example for this is drawing a nose when the face is facing directly forward (out of the page). it is almost always a mistake to try to draw much of the nose with lines from that angle. maybe the bottom plane of the nose or the nostrils, but you sure as hell should avoid drawing a line from the brow all the way down to the tip of the nose... it will never work. when you understand why, you've gotten the point and can apply it to other parts of the body. you'll also know when to break that rule.

    if you look at a cover of the fashion mag "Cosmo" where a model is looking straight forward and is brightly lit. you will NEVER see anything in the bridge of her nose that should be treated with a line.

    the same thing goes for the muscles in her neck.

    maybe, depending on the pose, you can use a soft or broken line indication for the clavicle, but even then be careful.

    pretty soon you'll find that line usage is not appropriate for the interior contours of soft, rounded forms. sure, you can use them for bodybuilders and the incredible hulk, but it won't work for the sexy babe types.

    learn to use line where appropriate. learn how to imply overlaps with tiny adjustments to your silhouette lines.

    5) shadows are a godsend. core shadows provide you with a chance to do some calligraphic, rhythmic, soft, thick lines. take care not to enclose a shadow on all sides with a line--it will create a flat shape. let your shadows "breathe."

    the edges of cast shadows are fucking wonderful as contour lines. they're "freebies." again, this goes back to the cylindrical rhythm of just about every form in the body. you will have some kind of ()un concave feeling to these edges. NEVER perfectly straight.

    merging shadows together gives you a chance to simplify too.

    6) speaking of merging shadows... SIMPLIFY whenever possible. some pages back...or maybe in my mentoring thread...i did a demo of eye shapes. with one shadow shape (with a few holes in it) i can suggest: the eyeball, the iris, the tear duct, the eyelashes, the highlight on the iris, the eyelids, the fleshy bulge in the outer corner of an eye between the lid and the eyebrow, the eyebrow itself, and possibly some emotion indicators as well. WITH ONE SHAPE!!!! this should be a goal to strive for. excellent shapes that imply everything else. it saves you work, and more importantly it stops you from overworking something.

    7) on to figure invention... figure invention starts with memory. in many ways, you can only draw what you know. when you invent, you're really improvising on top of something that you already know. i.e. there's never such a thing as too much practice. you can start simple if it helps; draw a figure from reference and invent one of the limbs--an arm, a leg, the head, a hand, etc. when this becomes "easy" (it's never really that easy) start inventing more.

    another useful exercise is drawing a simple polygonal shape---a circle, a square, a pentagon, a 5-pointed star, etc. put a small oval inside it, and then invent a figure that will fit within that shape.

    8) try to sympathize physically with what you're drawing. if you're doing a facial expression, try making the expression and feel what moves and changes in your own face. when you want to draw a pose, take the pose yourself and notice where your weight is, look at which way your hips or chest are turning. even if you don't shoot reference photos of yourself, do whatever it takes to help you visualize what's going on.

    9) it's a mistake to only invent complete figures. in many instances, the figure will be cropped in a composition. practice drawing the figure, or part of one, within a compositional rectangle. experiment with cropping part of the figure out. make the figure bigger or smaller within the frame. pay attention to what kind of emotional content that might convey. does a small figure in the corner feel "lonely"? does an upshot look "heroic"?

    as much as fine artists want to label illustration as commercial and vulgar, these kinds of information are universal. they help us relate to each other as human beings. you can use them to sell coca cola or to express deeply personal ideas to a larger audience.

    10)study how other people invent the figure. find a few favorites. pay attention to each of the elements i've described here. ask yourself--how does X handle shadows? how does X make a soft edge? how many values is X using? do the shadows have a concave rhythm to them? etc. etc. etc. even when you're not drawing...you're still drawing! and then you're always learning even when you're tired or frustrated.

    11) listen to yourself... like i once said: only an asshole would spend 10,000 hours doing 5-minute sketches and nothing else. to a certain extent, draw what you feel like drawing. if you're feeling brave and confident, experiment! if you just want to relax, draw something you like to draw often. being frustrated is natural, but being frustrated about being frustrated will only lead to setbacks and mental blocks.

    ************************************************** *******
    anyway, that's a lot for a saturday night... i can go off on this stuff for days on end and still think of things that i forgot to include or better ways of saying it. in the end, i think i'd explain it best in person by drawing certain things in front of you or by pointing at elements of artists much better than me.

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  12. #1088
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    Thanks for sharing your answer. This advice is great for many of us! And thanks to whoever asked!

    d a v i d p i n e

    ONLY CONNECT.
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  14. #1089
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    Dropped in to see if you had done any new 3d stuff and what do i get instead? Some incredibly useful advice, awesome! Thank you!

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  16. #1090
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    Chris, if you want to get familiar with ZB, these videos will get you there:

    Training videos by Meats Meier:

    Intro to ZBrush 3
    http://www.vimeo.com/album/49069

    Zbrush for Illustration
    http://www.vimeo.com/album/60297

    Meats has made these free, he used to sell them at gn0monology. They were worth paying for, now that they're free, there's no excuse to not get them. He does a good job in covering the basics in Intro, and then ZB for Illustration shows you practical examples on how to get the most out of ZB as a tool for illustration.

    I posted a bunch of links to other tuts here:
    ZB Tuts.

    I will say that Ryan Kingslien takes a sculptor's approach to ZB, so you might want to check his stuff out. (in the ZB Tuts link above)

    If you have any questions, PM me.

    bart

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  18. #1091
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    That's a lot of really useful, well spoken information, Chris. A lot of what you went over has been on my mind lately. Not putting too many lines inside the silhouette and merging shadow shapes mainly. It's really helping me not only simplify and present the pose better, but as you said, it saves heaps of time.

    Thanks very much.

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  20. #1092
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    i'd like to finish EOW for once but who knows what will happen. i've now been to the hospital 3x in under 2 weeks with westermoe. 5 blood transfusions, 9 prescriptions at the LA County pharmacy... and i can't even begin to explain the amount of shit i've fucking dealt with on top of this. out of respect for him, i won't divulge it here. but still... the amount of shit i'm eating right now.

    "1 boy and 5 cups."
    that about sums it up.

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    no energy left for comments or discusssion tonight.
    maldrin, imaginary, staticpen thanks.
    bartdecoTHANKS for the info man, i really appreciate it!

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  22. #1093
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    Hey Chris, Great 3D comps amazing technique !

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  24. #1094
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    Hey man, just wanted to say thanks for taking the time to share so much of your stuff: not just work, but processes, thoughts, and advice. It's really cool to watch your growth as an artist in these pages - I can't really offer any crits, (your stuff is great!) but I just wanted to thank you for contributing so much to this forum! Subscribed!

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  26. #1095
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    just a little more work before bed...

    i've taken a liking to the Real Variable Width Pen in painter 11. also made an eraser version of it.

    this image has grown to about 1400x4000 pixels, so you can't really see too much of what i'm doing here. but the process is pretty simple. do some art deco andad art nouveau -ish lines, copy the layer and flip it horizontally to make a symmetrical pattern. turn on preserve transparency, and hit it with brushes to simulate the light source, etc... same stuff i learned from the ryan church intro to corel painter dvd.

    deliberately not using photos because i don't have PS on this machine and painter is not great for transforming stuff. which is good because it forces me to doodle interesting linework.

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    mike thankss mike, always glad to have you browse through here. i think you'd like these 3d programs.

    wafflekoan thanks, glad you enjoy it!

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  27. #1096
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    Great update Ccsears, and the 3-d stuff looks amazing for your first tries. Thanks for sharing.

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  28. #1097
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    dude, top notch stuff, i like the 3D tries also

    the clay sculpture (of the head) is verry nice.

    and your doodles and sketches are inspiring.

    keep on rocking

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  29. #1098
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    The newest updates are great!

    Wanted to stop by and say I appreciate that post answering the question. It helps a ton to read your posts like that, so thankyou. I vote we put all your lesson posts into a pdf book. :p

    I'm excited to see what else you will do with mudbox and 3d in general. If you need any help with it, I might be able to offer some advice for that kind of stuff.

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  30. #1099
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    Interesting technique for making those patterns. Would you say you preferred PS or Painter in the end?

    Retardedmonkey - One step ahead of you, mate. I've got em all in a folder on my hard drive, heheheheh.

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  31. #1100
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    hmmm...interesting. so did you work full time on ABL? I have read into the thread quite a bit, but you spit so much knowledge that it is would be like reading a novel to capture it all. How did you get into artwork? Is it something that you have pursued form the beginning, or did you follow other careers? Just poking into what it takes to start the game later in life and if it is worth it. Thanks for the great advice that you have given to us all here at CA.

    Last edited by Azrael; March 24th, 2009 at 11:16 PM.
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  32. #1101
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    this is just to show how i'm doing the detailing. draw shit on separate layers in a color that's easy to see. click preserve transparency, paint the colors and detail it with big strokes--no need to stay within the lines due to the preserve transparency setting.

    it's an easy technique, just like stenciling. i take no credit for it because i learned it all from the first GW DVD i ever bought--ryan church, introduction to corel painter. it's an excellent introduction and i've just built on it as a foundation.i

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    i'll poost more comments if i get more shit done tonight. a shout out to the aerospace brother azrael in the meantime. i'll write a little rant about my life in the trenches soon enough...

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  33. #1102
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    moar moar moar shit shit shit.
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    victorb thanks man

    Brun thanks, fist bump and devil horns right back to you.

    retardedmonkey, staticpen thanks. maybe someday when i figure shit out i'll pull a loomis and write it all down for once and for all. staticpen, as far as painter vs PS goes, i gotta say i prefer painter just because it's what i first learned and it's designed for painting. photoshop has a steeper learning curve because it's still organized for the damn photographers. that said, PS is probably more powerful for doing photorealism, making complicated transformations, and a few other things.

    i guess PS just feels so damn "heavy" whenever i need to do something. when i'm in the mood to doodle and sketch, it kinda kills the mood somehow.

    but it's the industry standard for some damn reason, so we all need to learn ita, right? i'm still on CS2 so i'm way behind the curve.

    Azrael 6.5 years on ABL was more than plenty for me. I had my ups and downs with it.

    my going away photo. wearing a misfits t-shirt in front of a 3-billion dolllar death ray is pretty sweet. stay classy, mr. sears. the guy on the left is a good friend of mine. 2 purple hearts and a bronze star as a recon marine in Vietnam, years of doing black stuff. the guy on the right is my friend and partner in crime when we were doing what we did. (vague enough?)
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    what's in that big building on the nose?
    this little piggy...
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    i've gone on and on about crazy working conditions while i was learning to draw, but you really wouldn't believe me if i told you. actually, maybe you would... everybody has their own "war stories" from doing this stuff. but, ABL doesn't need any bad publicity right now. they're trying to get to missile shootdown this year and they need all the good vibes they can get.

    was it worth quitting? not financially, that's for fucking sure. i do miss the desert in a strange way too. the solitude was nice when i was in the mood for it. you'll never see brighter stars than out there in the middle of nowhere.

    but career changing. holy shit it is fucking difficult! career changing to a company would be bad enough. going off freelancing is really tough. not for the faint of heart.

    for me it came down to this: if i never quit it and tried this, i'd always have a lingering regret about what might've been. as a friend recently told me, the answer to everything in life is super simple: "do it anyway." don't have the money, do it anyway. don't have the time, do it anyway. need to catch up on sleep, fuck it do it anyway. might lose the shirt off your back, do it anyway.

    anyway(haha), i don't want to go into too much detail about the ups and downs of it all right now, but if you want to PM me maybe we can get together and sketch or get coffee sometime. my schedule is kinda fucked up at the moment, but culver city isn't that far from van nuys.

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  35. #1103
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    kidult is offline Does this sketch make my ass look fat? Level 12 Gladiator: Laqueatores
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    Thanks for the comments on my sketchbook and thanks for the great advice here!

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  37. #1104
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    been listening to jarvis cocker, the strokes, and wesley willis on pandora. i'm on a warhellride.

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    ...and your little dog too!!!!111!!

    kidult no problem. rock steady, kidult.

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  39. #1105
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    mmmm the strokes.... the latest piece is really shaping up nicely!

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  41. #1106
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    twenty-nine different attributes
    only seven that you like
    twenty ways to see the world
    twenty ways to start a fight

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    VictorB, thanks man

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  43. #1107
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    OmenSpirits is offline Commercial-Illustrator in-training, NOT an artist. Level 13 Gladiator: Retiarius
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    Cool ass Wiz of OZ, man!

    Like a Walter Gibson Cyber punk-type.

    "Everything must serve the idea. The means used to convey the idea should be the simplest and clear. Just what is required. No extra images. To me this is a universal principle of art. Saying as much as possible with a minimum of means."
    -John Huston, Director
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  45. #1108
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    Hey man, you're in Culver City now? Dude! You're in my hood! (half an hour away anyway)

    I'm attending Art Center in Pasadena. I am such a HUGE admirer of your work, I'd be honored to meet up in person and draw sometime! Hit me up! I'll PM you contact info.


    I'm so excited. I'd like to hear your ABL stories too. My dad's got a PhD in physics and worked for the better part of a decade in photonics and laser wafer production assemblies.

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  47. #1109
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    getting there... stay on target... stay on target...

    (you should see the fucking mural i'm trying to rescue...sheesh. i've done so much fucking painting today it hurts my head.)

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    OmenSpirits Thanks man! I wasn't thinking william gibson, but i can see it now. i was just thinking art deco, art nouveau and the chrysler building in NYC... something like that where i could riff on detailing a bunch of emeralds and whatnot.

    JasOn On A BiKe i'm in Van Nuys' Azrael said he was in Culver City. Annyways, i PM'ed you. we'll gget together as soon as a few disturbances quiet down

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  48. #1110
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    Beautiful stuff.

    And... you should teach drawing in Texas.

    Only the heart intrinsically noble can succeed...
    Check out My Sketchbook: Leave critiques, encouragement, and good jokes within.

    www.enmls.com
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